Word: interplay
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Dates: during 1980-1989
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...Babenco (adapting Manuel Puig's novel) attempts more than a sensitive study about the burgeoning of one off-beat friendship. He sets his sights on the giddy interplay between fantasy and fact, with the premise that escapism is indispensable to a psychologically sound existence...
Such verbal interplay is made possible by a parser, the part of the computer program that interprets players' commands. The first adventure-style programs contained parsers capable only of responding to simple noun-verb combinations such as Go north, Take sword, or Kill troll. In the late 1970s, however, Marc Blank, who is now a vice president at Infocom, and a colleague at M.I.T.'s lab for computer science, devised more sophisticated parsers with the aid of an artificialintelligence language called MDL (pronounced mud-dle). Then, in 1979, Blank and newly formed Infocom released Zork I, the first...
...both students and professors say that the traditional curriculm still provides for effective teaching. "Experimental sections wouldn't work with dominating, rock-star professors." Anderson says. He praises the interplay of Section I professors, adding. "Two are less hierarchical than...
...interplay between the two women is the play's mainspring. Ivey bubbles with crude gaiety in her effort to be liked. Harris finds pathetic dignity in an emotional loss that makes her physically ill. The supporting cast is also adept, notably George N. Martin as Harris' stolid, stubborn husband; only McGoohan's automaton-like condescension seems unreal. Director Clifford Williams has sensitively evoked the rhythms of the play, which alternates between naturalistic bursts of action and spotlighted soliloquies. Much of the story is told after the fact, in an elegiac, ruminative tone, reminiscent of $ recent work by Tom Stoppard...
...most successful interviews (e.g. "The Advective is the Statement of Desire" and "On the subject of Violence"), the speech seems to approach the rhythm of conversation while avoiding its customary banality. A fine tactical maneuvering, an interplay of voices prevents the interview from slipping into the atrophy of an artificially into the atrophy of an artificially sustained monologue it moves it advances, it retreats. The finest moments leave the reader, the eavesdropper, the innocent voyeur, with a mingled sense of horror and satisfaction at the audacity with which Barthes engages in verbal fencing: (from Le Nouvel Observateur...